Relevant bibliographies by topics / Indian epic poetry

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Indian epic poetry'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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Journal articles on the topic "Indian epic poetry"

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Barth, Vinicius. "CONTEMPLAÇÃO NAS SOMBRAS: O GUESA DE SOUSÂNDRADE E A MEIA-NOITE ÀS MARGENS DO SOLIMÕES." Revista Épicas 8, no. 2020 (2020): 119–37. http://dx.doi.org/10.47044/2527-080x.2020v8.119137.

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This article aims to analyze the episode that narrates the Guesa's midnight dream on the banks of the Solimões River, a passage that is present in the first book of Joaquim de Sousândrade's pan-Indian epic O Guesa. This part, which anticipates the epic topic of the “descent into hell” that occurs during the Dance of Tatuturema in the second book, shows some of the literary influences over the poet's voice in formal and thematic aspects. This study will try to identify, through the poetic text, some of these influences, quite varied and assembling aspects of epic poetry - classical, renaissance
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Smith, John D. "Winged words revisited: diction and meaning in Indian epic." Bulletin of the School of Oriental and African Studies 62, no. 2 (1999): 267–305. http://dx.doi.org/10.1017/s0041977x00016712.

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Scholars working in the field of oral epic all have a particular form of words committed to memory—Milman Parry's celebrated definition of the formula. The definition in fact appears in two slightly differing forms in Parry's writing. In 1928 he wrote, ‘In the diction of bardic poetry, the formula can be defined as an expression regularly used, under the same metrical conditions, to express an essential idea’ (Parry, 1971: 13). Two years later came the more familiar version: ‘The formula in the Homeric poems may be defined as a group of words which is regularly employed under the same metrical
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Raksamani, Kusuma. "The Validity of the Rasa Literary Concept: An Approach to the Didactic Tale of PHRA Chaisurjya." MANUSYA 9, no. 3 (2006): 67–72. http://dx.doi.org/10.1163/26659077-00903004.

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The rasa (emotive aesthetics), one of the major theories of Sanskrit literary criticism, has been expounded and evaluated in many scholarly studies by Indian and other Sanskritists. Some of them maintain that since the rasa deals with the universalized human emotions, it has validity not only for Indian but for other literatures as well. The rasa can be applied to any kind of emotive poetry such as lyric, epic, drama and satire. However, in Thai literature an emotive definition of poetry encompasses a great variety of works. A question is then raised in this paper about whether the rasa can be
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Lesik, Ksenia A. "The Motif of Journey in Kunwar Narain’s Poetry." Vestnik of Saint Petersburg University. Asian and African Studies 12, no. 4 (2020): 521–33. http://dx.doi.org/10.21638/spbu13.2020.404.

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The article is focused on the motif of a journey in the works of a modern Indian poet, Kunwar Narain, a representative of New Hindi poetry. This motif of a journey is extremely important in Indology studies. Starting with the Indian epic poems “Mahabharata” and “Ramayana”, the motif of pilgrimage has been one of the significant plot lines. During the Medieval period, the motif of a journey became an allegory of individuality cognition. In modern Hindi literature writers introduce innovation in the image of travel, remaining within the established Indian tradition. The research in this article
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Mahore, Nisha. "PAINTING MENTIONS IN ANCIENT INDIAN TEXTS." International Journal of Research -GRANTHAALAYAH 7, no. 11 (2019): 54–58. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.984.

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Engish : In ancient Indian texts, the rules related to painting are mentioned in detail, in which texts of poetry, drama, epic, Puranas, Upanishads and various disciplines describe their popularity in ancient tradition and cultural methods of Indian painting and public opinion. Apart from this, there are some texts in which free and comprehensive painting has been explained in detail. For example, there are 269 chapters in this book composed by Vishnudharmottara Purana Markandeya. Under which, in the third section, Sanskrit subjects are especially important for the fine arts. In which chapters
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Reichl, Karl. "The search for origins." Journal of Historical Pragmatics 4, no. 2 (2003): 249–67. http://dx.doi.org/10.1075/jhp.4.2.06rei.

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Although in some traditions (notably in India) oral epics are performed as part of a religious ritual, there is no overt ritual function of the epic in most oral traditions known today. However, even in a purely secular and seemingly non-ritual context, the performance of oral epics can have ritual dimensions. This is discussed with reference to the oral epic poetry of the Turkic peoples of Central Asia. It is argued that the performance of oral epics is a particular type of communicative event, of which the comparatively rigid act sequence can be seen as being on a par with the patterning of
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Plourde, Éric. "Kalevala through Translation: Continuity, Rewriting and Appropriation of an Epic." Langue, traduction et mondialisation : interactions d’hier, interactions d’aujourd’hui 51, no. 4 (2006): 794–805. http://dx.doi.org/10.7202/014343ar.

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Abstract The Kalevala, the national epic of the Finnish people, published in the 19th century and created by E. Lönnrot from songs collected in the Karelian countryside (Northwestern Russia), is the result of a long process of rewriting. This process has manifested itself through successive retranslations in various languages and through certain strategies favored by the epic’s translators. Recent translations reflect a tendency to appropriate the epic through the use of a vocabulary and poetic style that are specific to the culture of the translator. For example, verse translations in Tamil a
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van der Woude, Joanne. "Indians and Antiquity: Subversive Classicism in Early New England Poetry." New England Quarterly 90, no. 3 (2017): 418–41. http://dx.doi.org/10.1162/tneq_a_00626.

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Two exceptional colonial poems, Thomas Morton's version of the events around his Maypole at Merrymount and Benjamin Tompson's epics on King Philip's War, are heavily classical, especially in their descriptions of Native Americans. The essay examines the advantages that the use of classical comparisons have over the more common tropes of Biblical typology.
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НАЗАРОВ, НАЗАРІЙ А. "Індоєвропейські витоки обрядовості слов’янського епосу". Studia Slavica Academiae Scientiarum Hungaricae 64, № 1 (2019): 117–30. http://dx.doi.org/10.1556/060.2019.64110.

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Was there a goddess Slava in Slavic pagan antiquity? Though there have been voices that it was possible, the analysis of Slavic folklore texts proved the issue to be more complex. The present paper shows that Ukrainian folklore as well as the folklore of other Slavic peoples may have preserved stable compositional clichés that can be traced back to Indo-European prototypes. In their turn, these clichés may be explained as the verbal reflections of ritual practices and sacred etiquette. It is stated that the final parts of Ukrainian dumas, Russian bylinas, and Serbian heroic songs that contain
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Cruz, Gabriela. "Laughing at History: the third act of Meyerbeer' L'Africaine." Cambridge Opera Journal 11, no. 1 (1999): 31–76. http://dx.doi.org/10.1017/s0954586700005516.

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A mythical giant, a Malagasy slave, a song, an accomplished baritone, an outraged critic; these seemingly incompatible figures are bound together in the Paris premiere of Giacomo Meyerbeer's L'Africaine in 1865. They are the fundamental elements of my story of the opera's third act, a narrative web binding together early modern nautical history, epic poetry, grand-opera dramaturgy, and the nineteenth-century politics of operatic performance and listening in an exploration of how the opera's rather fictionalised account of Vasco da Gama's first sea voyage to India five centuries ago bears witne
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Dissertations / Theses on the topic "Indian epic poetry"

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Romero, Anaya Jesus. "Individualidad de la "Historia de la nueva Mexico", de Gaspar de Villagra, en el contexto de la epica indiana." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186119.

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The Historia de la Nueva Mexico, by Gaspar Perez de Villagra, has been one of the less studied epic poems in Hispanic American literary criticism. The purpose of this study is to show the text's literary characteristics and justify its inclusion within the tradition of Ariosto's romanzi, which was earlier followed by La Araucana, paradigm of the epic discourse in Hispanic America. The analysis borrows from a structuralist-narratologic methodology developed in the works of Gerard Genette, Felix Martinez Bonatti, Cedomil Goic and Julia Kristeva. The study begins with the analysis of the differen
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Books on the topic "Indian epic poetry"

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Epic of the dispossessed: Derek Walcott's Omeros. University of Missouri Press, 1997.

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Bhavan, Bharatiya Vidya, ed. British death march under Asiatic impulse: Epic of Anglo-Indian tragedy in Afghanistan. Bharatiya Vidya Bhavan, 2003.

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Sarma, M. V. Rama. Milton and the Indian epic tradition: A study of Paradise lost, the Ramayana, and the Mahabharata. Prestige Books, 1995.

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Raja Nal and the Goddess: The north Indian epic Dhola in performance. Indiana University Press, 2004.

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The Tübingen Tulu manuscript: Two South Indian oral epics collected in the 19th century. Harrassowitz, 2015.

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Henriksen, Line. Ambition and anxiety: Ezra Pound's Cantos and Derek Walcott's Omeros as twentieth-century epics. Rodopi, 2006.

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Ambition and anxiety: Ezra Pound's Cantos and Derek Walcott's Omeros as twentieth-century epics. Rodopi, 2007.

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8

Narayan, Rasipuram Krishnaswamy. The Ramayana: A shortened modern prose version of the Indian epic (suggested by the Tamil version of Kamban). Penguin Books, 2006.

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Narayan, Rasipuram Krishnaswamy. The Ramayana. Penguin Group USA, Inc., 2008.

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In the shadows of divine perfection: Derek Walcott's Omeros. Routledge, 2003.

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Book chapters on the topic "Indian epic poetry"

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Jarow, E. H. Rick. "The Cloud’s Way." In The Cloud of Longing. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197566633.003.0007.

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This chapter follows the imagined journey of the Cloud through varied landscapes of India. The phenomenon of “diversion,” also seen in the epic Mahābhārata, is examined as an associative organizing principle of narrative in which one scenario suggests another (as opposed to linear progression). The arc of the journey is examined through close readings of particular verses that describe fabled sites in India’s mythic geography. These are unpacked and analyzed for their exquisite figurative detail. The repeated stops with mountains and dalliances with rivers are shown to be part of Kālidāsa’s eroticized landscape, and comparisons are made with well-known landscape narratives. The actual poetic figures that the poet employs, and how they work, are examined.
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Harris, Jonathan Gil. "Hi Mho Ji Kudd." In Geographies of Embodiment in Early Modern England. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198852742.003.0003.

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Harris tells the story of Father Thomas Stephens, whose interactions with the landscape, language, and food of India refashioned his English body. By unpacking the phrase ‘hi mho ji kudd’, a Konkani translation of ‘hoc est corpus meum’ (which is inscribed beneath the altar in a Jesuit church in Goa), Harris provides an account of a more worldly transformation than that offered by the Eucharist. As the author of the epic poem Kristapurana (Story of Christ), Stephens participated in the ‘Jesuit tradition of inculturation’. And yet, Stephens’s love of the Marathi language ‘Indianized’ not only the Christianity he preached but also his own body. Stephens’s poetic use of the kalpataru, the coconut tree, as Eden’s Tree of Life, invokes a daily experience of interacting with Goan coconuts, underscoring the recalibration of Stephens’s flesh ‘into something Indian’.
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Khandkar, Arundhati C., and Ashok C. Khandkar. "Know Thyself." In Swimming Upstream. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199495153.003.0007.

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Having won acclaim with his receiving India’s highest literary honour, the Sahitya Academy Award, he set his sights on encouraging Dalit writers and thinkers to express themselves in their own words, helping them find their own authentic voices, without regard to the vast literature that was essentially canonical and brahminical in origin. He hoped that this would help heal the wounds that the Untouchables felt deeply as a result of the deprivations that they had experienced for generations. At the same time, he also pointed to the varied and opposing interpretations of stories and parables from the great Indian epics, Ramayana and Mahabharata. His distillation of the vast span of Vedic and Vedantic literature offered depth and meaning extending from the ancient Sanskrit to the contemporary nascent Dalit literature. Marathi Dalit literature blossomed during this time and saw extraordinary growth. He expanded his analysis and thinking into other creative realms including the aesthetics of art, poetry, and drama.
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Robertson, Ritchie. "3. Classical art and world literature." In Goethe: A Very Short Introduction. Oxford University Press, 2016. http://dx.doi.org/10.1093/actrade/9780199689255.003.0003.

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‘Classical art and world literature’ shows that Goethe’s knowledge of art and literature was wide-ranging and explains that, in both, he came to believe that the works produced by the ancient Greeks formed a standard that could never be surpassed. In art, he explored the classical tradition that descended via the Renaissance to the neoclassicism of the 18th century. In literature, his taste was much wider. He read easily in French, Italian, English, Latin, and Greek, and in his later life he eagerly read translations of Asian texts—novels from China, epics and plays from India, and the Arabic and Persian poetry that would inspire his great lyrical collection, the West-östlicher Divan (West-Eastern Divan).
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Figueiredo, João R. "Luís de Camões’s The Lusiads and the paradoxes of expansion." In Local antiquities, local identities. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526117045.003.0010.

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Following a well-known trend in early-modern Europe, the Portuguese poet Luís de Camões widely refashioned the myth of Lusus, an obscure son of Bacchus mentioned by Pliny, with two main purposes: to explain the etymology of the words "Lusitania" (the former Roman province used as a synonym for Portugal) and "Lusíadas" (the descendants of Lusus and the title of epic poem, published in 1572); and to set in motion the narrative framework of Vasco da Gama's voyage to India, insofar Bacchus, the mythical ancestor of the Portuguese and former conqueror of India, fiercely opposes the king of Portugal's expansionist plans. To address such questions, Camões vies with Ovid and Pliny, two basic tenets of the classical revival in early-modern Europe, in creating a bigger-than-life metamorphosis: the Giant Adamastor, turned into stone at the nethermost tip of Africa, whose autobiography is the etiology of the Cape of Good Hope.
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Conference papers on the topic "Indian epic poetry"

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Hock, Hans Henrich. "Foreigners, Brahmins, Poets, or What? The Sociolinguistics of the Sanskrit “Renaissance”." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.2-3.

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A puzzle in the sociolinguistic history of Sanskrit is that texts with authenticated dates first appear in the 2nd century CE, after five centuries of exclusively Prakrit inscriptions. Various hypotheses have tried to account for this fact. Senart (1886) proposed that Sanskrit gained wider currency through Buddhists and Jains. Franke (1902) claimed that Sanskrit died out in India and was artificially reintroduced. Lévi (1902) argued for usurpation of Sanskrit by the Kshatrapas, foreign rulers who employed brahmins in administrative positions. Pisani (1955) instead viewed the “Sanskrit Renaissa
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